Community-based practice and the art world?

While in Mexico City, Pacific Standard Time: LA/LA Otis Lead Researcher & Curator Bill Kelley, Jr. asked researchers, directors, and artists, what is the relationship between community-based practice and the art world?

Here are their responses:

Alejandro Rincón Gutiérrez is a visual artist and cultural organizer, and coordinator of community services of Faro Tláhuac (Fábrica de Artes y Oficios), Mexico City. He received his bachelor’s degree in Visual Arts as well as a certificate in Cultural Organizing from the School of Art and Design at the Universidad Autónoma de México (UNAM).

José Luis Galicia is director of Faro de Oriente, Iztapalapa, Mexico City. He received his BA in Visual Arts at the National School of Plastic Arts from the Universidad Nacional Autónoma de México (UNAM).

The network of Faros is composed of four factories dedicated to the arts and crafts of Mexico City that promotes creativity and reconstituting the social fabric. Each Faro’s main objective is to generate cultural offerings in underserved areas through services that support prevention, inclusion, social cohesion and integration, as well as contribute to the training and employment of people with various arts and crafts.

To read more about the FAROs

María Fernanda Cartagena lives in Quito, Ecuador and is Executive Director of the Fundación Museos de la Ciudad. She is Editor of, as well as a member of the Red Conceptualismos del Sur and of the Corporación Wacharnack, a not-for-profit organization and platform that promotes a perspective based on cultural rights and decolonization.

Peter McLaren is Distinguished Professor in Critical Studies, College of Educational Studies, Chapman University, where he is Co-Director of the Paulo Freire Democratic Project. He is Emeritus Professor at UCLA and at Miami University of Ohio. He is also Honorary Director of Center for Critical Studies in Education in Northeast Normal University, Changchun, China.

Andrés Arredondo is an anthropologist with experience forming and directing environmental and sociocultural projects, supporting processes of community participation, and researching practices and processes of historical and cultural memory. He was a coordinator and member of Memory of the Municipal Unity of Attention to Victims 2007-2012. He was director of the Traveling Museum of the Tunnel of Memory from 2009-2012 and is currently a project coordinator of Memories in Dialogue with the Casa de la Memoria in Medellín.

David Gutiérrez Castañeda is a sociologist, having received his degree from the National University of Colombia in 2006. He is a doctoral student with a focus on contemporary art at the National Autonomous University of Mexico (UNAM). He is a member of the research collective Taller de Historia Crítica de Arte (since 2006) and the Red de Conceptualismos del Sur (since 2008).

Inter-ferencia: Jimena Andrade and Marco Moreno
Inter-ferencia is a self-managed, non-profit initiative, conceived by Jimena Andrade and Marco Moreno in July 2008 in Bogotá, Colombia. Their practices focus on criticism, the relationship of politics and artistic production, the relationship between art and social movements, the relationship of site-specific art with the Latin American context and the study of the contexts of power.

Mabel Tapia is completing her doctorate at the École des Hautes Études en Sciences Sociales and the Universidad de Buenos Aires (EHESS/UBA). Her research focuses on the practices of conceptual affiliations, archives, and political practice in contemporary art production. She is currently based in Paris, France.

Paulina Varas is an indepedent researcher and curator. She received her Bachelor of Arts from the Universidad de Playa Ancha and is a doctoral candidate in the History and Theory of Art at the Universidad de Barcelona. She is coordinator of CRAC Valparaíso, a collaborative non-profit research platform that works in the city of Valparaíso.